[…] Charles McEnerney of Layers Marketing, who produced the event, kicked off the evening with a review of results from the Future of Music Coalition “Money from Music” research project.
The project, which analyzes the many revenue streams of working musicians — based on comprehensive online surveys and offline interviews — reflects the impact of technology on the music industry in general. While we may have a general gut instinct that technology has empowered the individual musician, check out the FMC’s analysis for some interesting insights into the phenomenon. […]
Washington, DC-based nonprofit Future of Music Coalition interviewed 80 different musicians and composers, conducted nearly a dozen financial case studies, and ran an online survey completed by over 5000 musicians to uncover…how today’s musicians are earning money.
US-based orchestras have a rich history of making sound recordings of classical repertoire. Have you ever wondered if and how the performers are paid when those sound recordings are sold?
This question came up while we were working on a case study of a young professional orchestra player as part of our Artist Revenue Streams project. While categorizing his income streams, we realized we didn’t know how sound recording revenue flowed back to performers. Was it a profit split with all current members? What about the money generated from legacy recordings that are still sold? read more
Washington, D.C . — Future of Music Coalition has released the next data set from its groundbreaking Artist Revenue Streams research project: five financial case study profiles that provide rich, verifiable information about how certain musician types are making a living.
The five case studies provide a financial profile of five full-time musicians:
[…]Case studies from the Future of Music Coalition’s Artist Revenue Streams project have been released. That means you can check out detailed financial situations from a jazz bandleader-composer and sideman who occasionally leads bands. Previously on the subject.[…]
Everyone is always talking about the artists’ team, the critical support structure that helps spread the music and manage fanbases. But when it comes to successful artists, the most important and well-paid members are lawyers and accountants - then the webmaster, booking agent, manager, and everyone else.
The Future of Music Coalition recently interviewed thousands of artists about the composition of their team, and this is what a few hundred, high-earning artists said. These are full-time artists making more than $100,000 a year with over 90% of that coming directly from their music. And outside of the band members themselves, these were the roles designated most (in terms of the percentage of respondents indicating that these people were members of their team). […] read more
Musicians are musicians because they play music, not because they love accounting or managing Facebook pages. But in the current climate, artists are now forced to play more roles than ever - and their art is often suffering as a result.
According to survey information just shared at SXSW by the Future of Music Coalition (FMC), more than half of all of artists find themselves juggling three or more roles, and nearly 26 percent of artists are playing 4 or more roles. “The ‘I can do it myself’ mentality is not only pervasive, but I think some artists also romanticize it,” FMC consultant Kristen Thomson relayed. read more
[…]Also intriguing: Artist lobbying group the Future of Music Coalition has spent the last year collecting and studying data compiled from working musicians, hoping to better understand where artists of different levels are generating the bulk of their income. The in-progress findings will be presented Thursday.[…]
[…]The good news, perhaps, is that there are more ways than ever to bring in cash. Artist lobbying group The Future of Music Coalition revealed at Austin the results of its two-year research project into how artists make money. Jean Cook, one of the architects of the project, specified Saturday to Pop & Hiss that no single artist is, of course, benefiting from all 42 potential revenue sources that her group has identified. A classical artist, for instance, may have access to only two or three, she said, whereas a singer/songwriter may be able to pull from as many as 25 different sources.[…]